Atalanta, who was exceeding fleet, contended with Hippomenes in the course, on condition that if Hippomenes won, he should espouse her, or forfeit his life if he lost. The match was very unequal, for Atalanta had conquered numbers, to their destruction. Hippomenes, therefore, had recourse to stratagem. He procured three golden apples, and purposely carried them with him: they started; Atalanta outstripped him soon; then Hippomenes bowled one of his apples before her, across the course, in order not only to make her stoop, but to draw her out of the path. She, prompted by female curiosity, and the beauty of the golden fruit, starts from the course to take up the apple. Hippomenes, in the mean time, holds on his way, and steps before her; but she, by her natural swiftness, soon fetches up her lost ground, and leaves him again behind. Hippomenes, however, by rightly timing his second and third throw, at length won the race, not by his swiftness, but his cunning.
This fable seems to contain a noble allegory of the contest betwixt art and nature. For art, here denoted by Atalanta, is much swifter, or more expeditious in its operations than nature, when all obstacles and impediments are removed, and sooner arrives at its end. This appears almost in every instance. Thus fruit comes slowly from the kernel, but soon by inoculation or incision; clay, left to itself, is a long time in acquiring a stony hardness, but is presently burnt by fire into brick. So again in human life, nature is a long while in alleviating and abolishing the remembrance of pain, and assuaging the troubles of the mind; but moral philosophy, which is the art of living, performs it presently. Yet this prerogative and singular efficacy of art is stopped and retarded to the infinite detriment of human life, by certain golden apples; for there is no one science or art that constantly holds on its true and proper course to the end, but they are all continually stopping short, forsaking the track, and turning aside to profit and convenience, exactly like Atalanta. Whence it is no wonder that art gets not the victory over nature, nor, according to the condition of the contest, brings her under subjection; but, on the contrary, remains subject to her, as a wife to a husband.